Objectives:

IN THIS LESSON, THE STUDENTS ARE EXPECTED TO:

• DEFINE PAINTING AS A VISUAL ART

• IDENTIFY THE FUNCTIONS, MEDIA, AND ELEMENTS OF THE
PAINTING
• EVALUATES CONTEMPORARY VISUAL ART (PAINTING) FORMS
BASED ON THE ELEMENTS AND PRINCIPLES
 VISUAL ARTS
A. PAINTING
PAINTING IS THE APPLICATION OF PAINT, PIGMENT,
COLOR OR OTHER MEDIUM TO A SURFACE. IT IS
THE ART OF CREATING MEANINGFUL EFFECTS ON
A FLAT SURFACE BY THE USE OF PIGMENTS.
 VISUAL ARTS
A. PAINTING
PAINTING IS THE APPLICATION OF PAINT, PIGMENT,
COLOR OR OTHER MEDIUM TO A SURFACE. IT IS
THE ART OF CREATING MEANINGFUL EFFECTS ON
A FLAT SURFACE BY THE USE OF PIGMENTS.
 VISUAL ARTS
B. FUNCTIONS OF PAINTING
THE FUNCTION OF PAINTINGS HAS EVOLVED OVER
TIME. THEY LET US KNOW THE WAY OF LIVING OF THE
EARLY TIMES THROUGH THEIR DRAWING. THIS IS ONE
REASON WHY WE CAN SEE PAINTINGS DISPLAYED IN
MUSEUMS BECAUSE OF THEIR HISTORICAL VALUE.
 VISUAL ARTS
B. FUNCTIONS OF PAINTING
THE PERFECT PAINTINGS ARE THOSE THAT RESONATE
WITH OUR HEARTS, MIND, AND EMOTIONS ONCE WE SEE
THEM. THESE IMPACTS ON US SIMPLY MEAN WE FEEL AND
UNDERSTAND WHAT THE PAINTER IS TRYING TO CONVEY
AND WHAT PART RESEMBLES OUR PERSONALITY.
 VISUAL ARTS
C. PAINTING MEDIA
THERE ARE SIX MAJOR PAINTING MEDIA, EACH
WITH SPECIFIC INDIVIDUAL CHARACTERISTICS,
ALL OF THEM USE THE FOLLOWING THREE
BASIC INGREDIENTS:
 VISUAL ARTS
C. PAINTING MEDIA
. ENCAUSTIC PAINT MIXES DRY PIGMENT
1

WITH A HEATED BEESWAX BINDER. THE

MIXTURE IS THEN BRUSHED OR SPREAD
ACROSS A SUPPORT SURFACE.
 VISUAL ARTS
C. PAINTING MEDIA
2. TEMPERA PAINT COMBINES PIGMENT
WITH AN EGG YOLK BINDER, THEN THINNED
AND RELEASED WITH WATER. IT DRIES
QUICKLY TO A DURABLE MATTE FINISH.
 VISUAL ARTS
C. PAINTING MEDIA
3. FRESCO PAINTING IS USED EXCLUSIVELY ON PLASTER
WALLS AND CEILINGS. THE MEDIUM OF FRESCO HAS
BEEN USED FOR THOUSANDS OF YEARS BUT IS MOST
ASSOCIATED WITH ITS USE IN CHRISTIAN IMAGES
DURING THE RENAISSANCE PERIOD IN EUROPE.
 VISUAL ARTS
C. PAINTING MEDIA
4. OIL PAINT IS THE MOST VERSATILE OF ALL
PAINTING MEDIA. IT USES PIGMENT MIXED WITH A
BINDER OF LINSEED OIL. LINSEED OIL CAN ALSO BE
USED AS A VEHICLE, ALONG WITH MINERAL SPIRITS
OR TURPENTINE.
 VISUAL ARTS
C. PAINTING MEDIA
5. ACRYLIC PAINT WAS DEVELOPED IN THE 1950‟S AND BECAME
AN ALTERNATIVE TO OILS.

THE PIGMENT IS SUSPENDED IN AN ACRYLIC POLYMER EMULSION

BINDER AND USES WATER AS THE VEHICLE. THE ACRYLIC
POLYMER HAS CHARACTERISTICS LIKE RUBBER OR PLASTIC.
 VISUAL ARTS
C. PAINTING MEDIA
6. WATERCOLOR IS THE MOST SENSITIVE OF
THE PAINTING MEDIA. IT REACTS TO THE
LIGHTEST TOUCH OF THE ARTIST AND CAN
BECOME AN OVERWORKED MESS IN A MOMENT.
 VISUAL ARTS
D. ELEMENTS OF PAINTING
PAINTING CAN BE ANALYZED BY CONSIDERING A VARIETY
OF ASPECTS OF IT INDIVIDUALLY. THESE ASPECTS ARE
OFTEN CALLED THE ELEMENTS OF PAINTING. HERE ARE
SOME ELEMENTS OF PAINTING/ART THAT ARE USED BY
ARTISTS WORKING IN VARIOUS MEDIA:
 VISUAL ARTS
D. ELEMENTS OF PAINTING
1. DISTANCE
THERE ARE THREE DISTANCES TO LOOK FOR IN A
PAINTING:
FOREGROUND
BACKGROUND
MIDDLE GROUND
 VISUAL ARTS
D. ELEMENTS OF PAINTING
2. COLOR
COLOR HAS THREE MAIN CHARACTERISTICS:
HUE - THE NAME OF ANY COLOR AS FOUND IN ITS PURE STATE IN
THE SPECTRUM OR RAINBOW, OR
THAT ASPECT OF ANY COLOR.
VALUE - IT REFERS TO THE BRIGHTNESS OR DARKNESS OF A COLOR.
INTENSITY - THE BRIGHTNESS OR DULLNESS OF COLOR
 VISUAL ARTS
D. ELEMENTS OF PAINTING
2. COLOR
COLOR HAS THREE MAIN CHARACTERISTICS:
HUE - THE NAME OF ANY COLOR AS FOUND IN ITS PURE STATE IN
THE SPECTRUM OR RAINBOW, OR
THAT ASPECT OF ANY COLOR.
VALUE - IT REFERS TO THE BRIGHTNESS OR DARKNESS OF A COLOR.
INTENSITY - THE BRIGHTNESS OR DULLNESS OF COLOR
 VISUAL ARTS
D. ELEMENTS OF PAINTING
LIGHT
LIGHT AFFECTS THE COLOR OF THE SUBJECT AND
OBJECTS IN THE PAINTING LOOK REAL AND SOLID
IF THE ARTIST SHOWS THE WAY LIGHT FALLS ON
THEM. THE USE OF LIGHT AND DARKNESS ALSO
CONVEYS PARTICULAR MOODS IN A PAINTING.
 VISUAL ARTS
D. ELEMENTS OF PAINTING
4. LINE
ARTISTS USE VARIOUS TYPES OF LINES TO
EXPRESS IDEAS AND FEELINGS IN THEIR
PAINTINGS.
 VISUAL ARTS
D. ELEMENTS OF PAINTING
4. LINE
LINES OFTEN DEFINE THE EDGES OF A FORM. LINES CAN
BE HORIZONTAL, VERTICAL, OR DIAGONAL, STRAIGHT
OR CURVED, THICK OR THIN. THEY LEAD YOUR EYE
AROUND THE COMPOSITION AND CAN COMMUNICATE
INFORMATION THROUGH THEIR CHARACTER AND
DIRECTION.
 VISUAL ARTS
SHAPE AND FORM
GEOMETRIC SHAPE – INCLUDES MATHEMATICAL,
NAMED SHAPES SUCH AS SQUARES, RECTANGLES,
CIRCLES CUBES, SPHERES, AND CONES.
ORGANIC SHAPES AND FORM – ORGANIC SHAPES
ARE OFTEN FOUND IN NATURE, BUT MAN-MADE
SHAPES CAN ALSO IMITATE ORGANIC FORMS.
 VISUAL ARTS
SPACE
THE AREA AROUND THE PRIMARY OBJECTS IN A WORK OF ART IS KNOWN AS
NEGATIVE SPACE WHILE THE SPACE OCCUPIED BY THE PRIMARY OBJECTS IS
KNOWN AS POSITIVE SPACE.
COMPOSITION
ARTISTS SERIOUSLY PLAN HOW THEY WILL ARRANGE ELEMENTS LIKE
COLOR, LINE, AND SHAPES IN THEIR PAINTINGS. THIS IS CALLED
COMPOSITION WHICH HELPS TO DRAW THE VIEWER'S EYES INTO THE
PICTURE AND GUIDES HIM/HER AS HE/SHE WALKS THROUGH THE
PAINTING.
VISUAL ARTS
PERSPECTIVE
PERSPECTIVE MEANS VIEW POINT OR VANTAGE POINT. IN VISUAL ART, IT HAS TO
DO WITH HOW MUCH AND /OR HOW WELL A WORK OF ART TRIES TO SHOW THREE-
DIMENSIONALITY. THROUGH PERSPECTIVE, ARTISTS CONVEY 3-DIMENSION
SPACE.
TEXTURE
IS THE SURFACE QUALITY OF A SHAPE- ROUGH, SMOOTH, SOFT, HARD GLOSSY,
ETC. TEXTURE CAN BE PHYSICAL OR VISUAL? ALL OBJECTS HAVE A PHYSICAL
TEXTURE.
SYMBOLS
A SYMBOL CAN BE DEFINED AS SOMETHING WHICH HAS A SPECIAL MEANING OR
A SPECIAL MESSAGE. ARTISTS USE SYMBOLS TO EXPRESS SUCH IDEAS AS LIFE,
DEATH, HOPE, AND FAITH IN GOD
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